and in reply he wrote a gracious letter of acceptance. This surely shows
that Lastman was pretty good quality, after all.

Rembrandt was making money. His pupils spread his praise, and so many new
ones came that he took the old quarters of Swanenburch.

In Sixteen Hundred Thirty-one, there came to him a young man who was to
build a deathless name for himself--Gerard Dou. Then to complete the
circle came Joris van Vliet, whose reputation as an engraver must ever
take a first rank. Van Vliet engraved many of Rembrandt's pictures, and
did it so faithfully and with such loving care that copies today command
fabulous prices among the collectors. Indeed, we owe to Van Vliet a debt
for preserving many of Rembrandt's pictures, the originals of which have
disappeared. With the help of Van Vliet the Elzevirs accomplished their
wishes, and so made use of the talent of Rembrandt.

Rembrandt lived among the poor, as a matter of artistic policy, mingling
with them on an absolute equality. He considered their attitudes simpler,
more natural, and their conduct less artificial, than the manners of
those in higher walks.

About Sixteen Hundred Twenty-nine, there came into his hands a set of
Callot's engravings, and the work produced on his mind a profound
impression. Callot's specialty was beggardom. He pictured decrepit
beggars, young beggars, handsome girl-beggars, and gallant old beggars
who wore their fluttering rags with easy grace.

The man who could give the phlegmatic Rembrandt a list to starboard must
have carried considerable ballast. Straightway on making Callot's
acquaintance he went forth with bags of coppers and made the acquaintance